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Composition et nouvelles technologies : vers des nouveaux agencements des catégories musicales

Abstract : The lexical evolution that tends to replace the terms "musical writing" or "composition" with that of “musical creation” or “sound art”, is an indication among others of the profound changes that the act of composition has faced, and of the difficulty of identifying many recent works as being created through a process of writing. These changes are obviously tied to evolutions in technology over the last century, especially pertaining to computing and digital tools – evolutions that have broken the link between musical work and traditional categories such as “score”, "instrument" or "performer", themselves sometimes seen to represent musical thought from a bygone era. Our thesis maintains however that the existence of these categories remains fundamental to understanding the concerns of composition, even in works where they seem to be absent. Indeed, one of the most important consequences of the transformations induced by new technologies is that traditional categories have been shattered into a multiplicity of technical objects whose interconnection can be considered as a form of writing. Discussed from the point of view of the evolution of musical technologies, each work appears as an “assemblage” (in the sense of “arrangement”), a new form of "concretization", to use Gilbert Simondon's term, of musical functions borne of technical means. Contemporary musical production bears witness to the immense variety of these assemblages.
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Vincent-Raphaël Carinola. Composition et nouvelles technologies : vers des nouveaux agencements des catégories musicales. Musique, musicologie et arts de la scène. Université de Lyon, 2019. Français. ⟨NNT : 2019LYSES036⟩. ⟨tel-02880639v2⟩

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